I love that so many centuries-old churches in England are still commissioning art—inviting contemporary visual styles into their worship space to stand alongside medieval pillars, frescoes, and window glass as expressions of the times that change and the Truth that does not. Christ Church Cathedral in Oxford is one such example, as two twenty-first-century wood pieces are on permanent display at the head of its twelfth-century north aisle.
“Christ Church” is the name of one of Oxford University’s thirty-eight colleges. The church on its campus serves not only as the college’s chapel but also as the cathedral church of the diocese of Oxford—meaning that a bishop is seated there.
As I walked down the nave, I was drawn to my left, where I saw the following two pairs of modern works, arranged in conversation with each other.
(The paintings seen hanging in the background in some of the photos below are from The Sarum Cycle by Nicholas Mynheer. They were on temporary display during my visit and have since been lent to another church. I will discuss Mynheer’s work and my meeting with him in a later post.)
Madonna and Child companion sculptures by Rita Phillips
Mother and Child figures by Rita Phillips, c. 2003. Sculpted from Australian Jarrah wood. Photo: Eric James Jones
Photo: Victoria Emily Jones
These two sculptures—one of Mary, and one of the baby Jesus—form a nativity scene that’s stripped of all other spectators. It’s just a mother alone with her child, sharing an intimate, blessed bond. Mary’s eyes look lovingly downward at the sleeping child, her hands folded in thanks to God for such a gift. Continue reading
The Jesus Question 